Canvas Nude Paintings

ARTIST: MAREK OKRASSA. Born in 1975, he studied painting in the studio of professor M. Swieszewski and drawing in the studio of Maria Targonska. Okrassa was twice awarded a grant fro...

Jean-Paul Bray (French, 1925-2021) Europa Oil on canvas Signed and dated `Bray 57’ (lower right) 32 x 25.1/2 in. (81.3 x 64.7 cm.)

An attractive, late 19th Century French School figural oil showing a line of light-hearted cherubim dancing joyously against a backdrop of ...

René Magritte 1898-1967 Belgian Le carnaval du sage (The Sage’s Carnival) Signed “Magritte” (lower right); titled and dated "Le carnaval du sage 1947" (en verso) Oil on canvas The enigmatic paintings of René Magritte have become some of the most familiar and celebrated of the Surrealist movement. Among the most influential of the Surrealist painters of the 20th century, Magritte is an artist of international renown, as beloved for his popular appeal as he is for the psychological intensity of his works. The present oil on canvas, entitled Le carnaval du sage, was executed in 1947 at the height of his career, and it is a tour-de-force example of the haunting, mysterious scenes that comprise his oeuvre. Painted in the years following the Second World War, Le carnaval du sage showcases several recurring themes from Magritte’s oeuvre. Chiefly, a juxtaposition between the visible and the hidden is keenly felt. Throughout his career, Magritte explores the psychological obsession with revealing what is hidden, particularly with regard to the human face. In his Le fils de l’homme, he obscures the face of a man in a bowler hat with an apple, while his Les amants (Metropolitan Museum of Art) conceals the faces of two lovers with white sheets. In Le carnaval du sage, Magritte juxtaposes the blatant nudity of his central figure by masking her face, simultaneously revealing and concealing her from the viewer. The work also incorporates two of Magritte’s most common tropes – the glass of water and the baguette. Lending the scene a strange sense of domesticity, they appear infinitely familiar and distinctly out of place, and thus heighten the uncanny effect of Magritte’s composition. In the background hovers a ghost obscured by a sheet, a figure which was of particular fascination to Magritte beginning in 1946. He once wrote to his fellow Surrealist Paul Nougé: "I saw in a dream an answer to the problem of the ghost: the traditional ghost draped...

Work from INCIDENTAL AMALGAMATION.

The painting–thin oil on canvas, in some parts unfinished−can be referred to the hand of the German painter Johann Heinrich Wilhelm Tischbein. It should be dated in the years between...

A wonderful expressionist oil on original canvas circa 1930 by Greek artist Giorgios Gounaropoulos. The piece depicts a nude woman beside trunk of a cut tree in a sparse landscape. T...

For Pierre-Auguste Renoir, Impressionism's pre-eminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled Après le bain presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. Après le bain conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 Gabrielle with a Rose (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers. Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. Circa 1898 Canvas: 43 1/2" high x 35 1/2" wide Frame: 57 3/4" high x 49 1/4" wide Provenance: Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899) J. Pereire Collection, France (1966) Sam Salz, New York (before 1981) Claus Virch, Paris French Compagny, Inc., New York Larry Silverstein, New York (circa January 1987) Le Clos de Sierne Gallery, Geneva Galerie Heyram, Paris (October 1987) Francis Gross M.S. Rau, New Orleans Literature: B. Schneider, Renoir, Berlin, 1957, p. 95 (illustrated in color, p. 83) M. Gauthier, Renoir, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet') F. Fosca, Renoir, L'homme et son obra, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath...

Frame 41 x 35 inches Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately ...

French Academic painter Louis-Joseph Courtat displays his mastery of composition and the female form in this entrancing oil on canvas. Entitled Baigneuses, the work was painted for and exhibited at the 1885 Paris Salon, the foremost exhibition of painters in the Western world. Large in size, it captures two nude bathers within a tranquil beach scene. While the artist's skill for landscape painting is on display, it is his command of form, light and color that bring this canvas to life. The artist specialized in paintings that glorified the nude, and his skill is clear in the luminosity of his models' skin and the classical beauty of their form and proportions. With their soft, undulating curves and flowing hair, Courtat's models reflect the two key influences on the young painter, that of the great Jean-Auguste-Dominique Ingres as well as his teacher Alexandre Cabanel. Like these two greats who came before him, Courtat similarly follows in the artistic tradition of the female nude that is traceable to classical antiquity and the Italian Renaissance. Born in Paris in 1847, Courtat studied at the famed École des Beaux-Arts under Cabanel. He was one of the Academic master's first students at the school, where he began to teach in 1864. Displaying considerable skill at an early age, Courtat won the Prix de Rome around 1870, and subsequently studied in Rome for a number of years. He returned to Paris in 1873 to make his debut at the Salon, where he was met with immediate success, receiving a third class medal. He received medals again in 1874 and 1875, a remarkable achievement for a painter of his age. In addition to the monumental nudes...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s m...

This acrylic on canvas from the seminal artist Artis Lane is one of the many model paintings from her long and illustrious career. The subject is a female nude in pose, holding a flo...

Title: "Nude Standing in Ocean, Rocks in Back" Artist: Sergei Babkov Medium: Oil on canvas Size: 29" x 24" Framed

This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net. The relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market...

A luxuriant forest is the romantic and lyrical landscape where the dance of the nude nymphs takes place in this joyful 19th Century antique oil on canvas painting featuring a mythological scene. Dance of the Nymphs and Naiads is a myth inspired by the tales of ancient Greece and ancient Rome, a subject already much loved in the Renaissance period as an allegory of rebirth - as in one of the most famous paintings in the world the Spring by Sandro Botticelli- then reproduced throughout the neoclassicism by academic painters -due to the renewed interest in classical artworks following the discovery of archaeological sites- and taken up later, with ecological purposes and meanings, also by the Barbizon school and Impressionist artists. The present artwork – signed Vagner low left and datable to the second half of the 19th century - is closely inspired by an important work by the great Camille Corot, which is now housed at the Musée d'Orsay (Paris). This historical oil on canvas painting, featuring a joyful scene with the three graces and other dancing nymphs...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s ...

A lush verdant painting of three nude bathers in a French river. It speaks of summer days spent wild swimming, picnics filled with cheese & wine and hear...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s mo...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s mo...

Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately with one of Persia’s mo...

Pierluca Ferdinando Nando (1912-1987) Italian. "Les Deux Amies" Two Semi Naked Women lying on a Bed, Oil on Canvas, Signed and Extensively Inscribed, canvas measures: 57 x 45 inc...

Natasha Wright's art probes the politics of representation of the female form. Gender, sexuality, vulnerability and power, seduction and aggression - th...

Natasha Wright's art probes the politics of representation of the female form. Gender, sexuality, vulnerability and power, seduction and aggression - th...

This compelling portrait of Salome was composed by the French painter Marie Felix Hippolyte-Lucas. While the celebrated artist's oeuvre is filled with bright and cheerful portraits of aristocratic women surrounded by florals, here he takes a different approach. Hippolyte-Lucas' Salome is simultaneously exotic and highly modern, rendered in a style that is both theatrical and bold. The monumental work's rich color palette is filled with gem-inspired hues that lend drama to the scene, highlighting the blatant sexuality of this legendary seductress. Though Salome is not named in the New Testament, she has appeared time and time again in art and literature over the centuries, as both an innocent and a seductress. Her mother, Herodias, resented John the Baptist, who denounced her marriage to King Herod as unlawful. At one evening meal, Salome danced...

"Tea for Two" Oil Painting 43" x 55" inch by Valery Mishin Valery Mishin was born in Simferopol in 1939. He graduated from the Sverdlovsk Art College in 1962, and the Mukhins Leningrad Higher School of Art and Industry, painting faculty, in 1968. He is a member of the Artists Union of Russia, a member of the UNESCO International Federation of Artists. He is one of the greatest masters of modern art. Valery Mishin is engaged in easel graphics, book graphics, and printing, paintings, objects, installations, ex-libris. He has participated in more than 300 exhibitions in Moscow, St. Petersburg and other Russian cities, as well as abroad - in Warsaw, Ghent, London, Mainz, Mexico City, Paris, Stockholm, etc. since 1966. More than 20 of them are one-man exhibitions including the one in the Central Exhibition Hall "Manege". He is a prize-winner of several foreign exhibitions. He was awarded the special prize of the House of Humour and Satire in Gabrovo in 1987, Grand Prix of the I International Biennial of Graphic Art in St. Petersburg in 2002. The artist has illustrated and designed over 50 books. Following the tradition of modernism in his work, Valery Mishin is extraordinarily diverse in book graphics and ex-libris. Some of his illustrations are made traditionally, others are conceptual, some are created in the method that the artist himself called "ReRealizm" or "Off-realism" (from the English. «ReRe» «Residual Realism»). The artist makes prints from real objects, plants, fish and creates a variety of compositions, turning these items into the plane of the sheet. His illustrations to "The Queen of Spades" by A. Pushkin and "Dzhakomeron" by T. Bukovskaya, which were made especially for the publishing house "Rare Books from St. Petersburg", are recognized now as a classic of book illustration art...

The themes in Tran Huy Hoan’s work are contradictions within themselves. His work is both innocent and erotic. Each subject is attractive yet affecting. Hoan’s precise technical styl...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Signed and Dated Modern Line Drawing Oil Painting of Nude Man. Louis Stettner (November 7, 1922 – October 13, 2016) was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. Stettner also spent significant time sculpting and painting, as well as mixing his work and “painting” on some of his photographic images. He continued to photograph New York and Paris up until his death. Louis Stettner was born in Brooklyn, New York, to Austrian immigrant parents where he was one of four children. His father was a cabinet maker, and Louis learned the trade when young, using the money he earned to support his growing love of photography. He decides to be a photographer after seeing photographs by Alfred Stieglitz and Weegee. He was given a box camera as a child, and his love affair with photography began. His family went on trips to Manhattan and visited museums, including the Metropolitan Museum of Art, where his love of art began. At 18, in 1940, Stettner enlisted in the United States army and became a combat photographer in Europe for the Signal Corps. After a brief stint in Europe he was sent to New Guinea, the Philippines, and Japan. Back from the war he joined the Photo League in New York. Through the Photo League’s exhibits, Stettner was further exposed to the work of Weegee, Edward Weston, and Lewis Hine. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the "Institut des Hautes Études Cinématographiques" in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York. Stettner's professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organize an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Robert Doisneau, Brassaï, Edouard Boubat, Izis Bidermanas, and Willy Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had significant influence on his work. In 1949, Stettner had his first exhibition at the "Salon des Indépendants" at the Bibliothèque Nationale, Paris. In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he free-lanced for Time magazine, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era—Strand had been a founder of the Photo League that would be blacklisted and then banned during those years. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. In his own social realist work, Stettner focused on documenting the lives of the working class in both Paris and New York. He felt that the cities belong to the people who live there, not to tourists or visitors. His upbringing caused him to take great care in capturing the simple human dignity of the working class. He also captured noteworthy architectural images of both cities, including bridges, buildings, and monuments. Stettner produced well-known silver gelatin prints in fine images, including: Aubervilliers, Brooklyn Promenade...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

Cancer, 2007 Acrylic on canvas (Signed front right corner) 78 7/10 H × 118 1/10 W in 200 H × 300 W cm Alexandru Rădvan’s art is not easy to look at or to comprehend; nor is it a com...

"Saint Mary Magdalene" D'après Guido RENI (1575-1642) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 81 x 69 cm (32 x 27.25 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 16th century Renaissance painting...

"Venus and Cupid with Dog and Partridge" After Tiziano VECELLIO, dit TITIEN (1488/1490 – 1576) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 67 x 93 cm (26.5 x 36.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 16th century Renaissance painting...

"The Thieves and Donkey" After Honoré Daumier (1808-1879) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 80 x 75 cm (31.5 x 29.5 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 19th century Renaissance painting by Honoré Daumier (1808-1879), "The Thieves and Donkey. The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher, the senior member of the family of painters, is often present in front of his easel in the Louvre Museum to paint in the way of a genuine Great Master painting...

"Lucretius" After Paolo Caliari, (1528 – 1588) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped ve...

"Marquis of Sourches and his family at the Country Concert" After Hubert DROUAIS (1699-1767) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 61 x 50 cm (24 x 19.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 17th century Renaissance painting by Hubert DROUAIS (1699-1767), "Marquis of Sourches and family at the Country Concert". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher...

"Renaud and Arminde" After François BOUCHER (1703-1770) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 92 x 73 cm (36.25 x 28.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 18th century Renaissance painting by François BOUCHER (1703-1770) , "Renaud and Armide". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher, the senior member of the family of painters, is often present in front of his easel in the Louvre Museum to paint in the way of a genuine Great Master painting...

"The Fisherman" After French 18th Century School oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 73 x 53 cm (28.75 x 21 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 18th century Renaissance painting by 18th French Century School , "The Fishermen". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher, the senior member of the family of painters, is often present in front of his easel in the Louvre Museum to paint in the way of a genuine Great Master painting...

"The Abduction of Prosperine" After Nicolò DELL'ABATE (c.1512-1571) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 67 x 105 cm (26.5 x 41.5 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 16th century Renaissance painting...

"Flower Vase in an Interior Scene" After Antoine Berjon (1754-1843) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 65 x 54 cm (25.75 x 21.25 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 18th century Renaissance painting by Antoine BERJON (1754-1843) , "Flower Base in an Interior Scene". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher, the senior member of the family of painters, is often present in front of his easel in the Louvre Museum to paint in the way of a genuine Great Master painting...

Artist: Lou Fink, American (1925 - 1980) Title: Nude Year: 1974 Medium: Sewn Canvas, signed verso Size: 38 x 30 x 4 inches

Axel Henry Helge Helme (1894 Roskilde, Denmark 1987), Seated Nude, circa 1930, oil on canvas, original frame Son of a merchant, Helge Helme was admitted ...

Impressionist portrait of a nude woman in the forest by Gaspare J Ruffolo (1908 - 1997). Oil on board, circa 1941. Signed "Ruffolo". Displayed in a white modernist frame. Image ...

Impressionist portrait of a nude woman in the forest by Gaspare J Ruffolo (1908 - 1997). Oil on board, circa 1941. Signed "Ruffolo". Displayed in a white modernist frame. Image ...

Shell, acrylic and sand on canvas.

The themes in Tran Huy Hoan’s work are contradictions within themselves. His work is both innocent and erotic. Each subject is attractive yet affecting. Hoan’s precise technical styl...

The themes in Tran Huy Hoan’s work are contradictions within themselves. His work is both innocent and erotic. Each subject is attractive yet affecting. Hoan’s precise technical styl...

The themes in Tran Huy Hoan’s work are contradictions within themselves. His work is both innocent and erotic. Each subject is attractive yet affecting. Hoan’s precise technical styl...

Contemporary nude figurative oil on canvas painting. Dimensions are 63" H x 43" . Colors are predominately black and white with a pastel background.

Vera Barnett is best known for creating elements of her composition—by sewing and painting plastic, building objects with cardboard and tape, and assembling found objects—then settin...

‘Security’ is a large framed contemporary surrealist figurative oil on canvas painting of vertical format, created by Vietnamese artist Dinh Y Nhi in 2010. Featuring a cold palette mostly made of grey and black tones, accented with blue and beige touches, the painting depicts a frontal view of a nude figure. This piece exemplifies Y Nhi's style of paintings as her success with two-colors; red, blue or black and white, addresses modern themes and issues devoid of gender. Her figurative surrealism style of stick figures is warped and elongated, stretched out of proportion. Each figure tilts and twists at painful angles. They bring to mind the famous harrowing faces in Edward Munch's ‘The Scream’, or the difficult distorted ones from the portraits of Francis Bacon. But most of the faces Y Nhi paints are miniature ones devoid of details, deceptively random and simple brush strokes. There is a playfulness that reflects the outer images the painter projects of herself. Her style also allows her to convey complex textures, and emotions, in her images. Dinh Y Nhi is a graduate of Hanoi's School of Fine Arts. Her work has been exhibited in many shows in Vietnam. She is receiving much notice among the Vietnamese press and art patrons in the United States, Australia and Asian countries. With its powerful presence and great proportions, this surrealist oil on canvas painting will be a definite conversation piece in any home, whether placed above a sofa, console table or enfilade. Set inside a frame, the painting is titled in the lower section. 1967: Born in Hanoi, Vietnam 1989: Graduated from Hanoi Fine Art University Exhibitions: 2011: Group Exhibition Art Asia Miami, Florida, AiBo Fine Asia Art 2011: Portrait, Dinh Y Nhi & Le Thiet Cuong...

"Backstage", is a large theatrical Art Deco painting by French artist Paul Alex Deschmacker. The painting depicts two theater performers, one se...

Bruce Adams is best known as a conceptually based figurative painter who references various (often historical) painting styles. In exploring the act of painting, Adams peels back the...

An exceptional early oil on canvas by American artist Karen Kiefer. Karen Kiefer continues to paint and teach fine art in Hawaii, the focus of her pain...

An original oil on canvas by French artist Jean Jannel, known for his figurative, genre portraits. Le Miroir, is an original oil on canvas, signed, c.1930...

Artwork size: 207 x 150 cm. Frame size: 215 x 158 cm. Free shipment worldwide. Signed, titled and dated on the back. Acquired directly from the artist. Vladimir Velickovic was born ...

Micao Kono was born in Japan, moving to work in Paris in the 1920's. His style, a mixture of Japanese watercolor and figurative Art Deco. He often mixed egg tempera into his oils to ...

Presenting a large original oil on canvas, "Salome;" by French artist Friedman Hahn. "Salome'", is an original oil on canvas, signed, c.1940, with an image dimension of 46 x 27 in...